Summer's Over
Efficient Space charts Ghost Ridersâ North American roadmap, crashing into 1973 New York to ignite the unfiltered teen dreams of Dennis Harte.
In the late â60s, 11-year-old prodigy Dennis Harte was handed a Sears-bought Silvertone 1448, its in-case amplifier primed for street-level incantations. Recruiting two neighbourhood friends, the trio hammered out raw rhythms, drawing in Brooklynâs wandering bohemians, keen to glimpse a prepubescent Alex Chilton in the making.
Also jamming with his older brothers, Bart and John, a family friend introduced the siblings to budding music exec Carl Edelson, who had spent the better part of two decades hustling through a string of local labels. A father figure of sorts, Edelson backed them immediately, facilitating sessions at the famed A-1 Sound Studios and Sanders Recording Studio and pressing four 7âs on his newly minted Roundtable Records. To maximise his chances of courting major labels, he strategically assigned each release a different artist name - Dennis Harte, Pure Madness, Harte Brothers and the wryly titled Harte Attack.
Dennisâ emotional maturity and sheer talent bleed into the defining âSummerâs Overâ, penned by Edelson and once recorded by mid-'60s New Jersey garage vocal group The Wouldsmen. Morphing into an unfathomably teenage, blue-eyed soul/psych lament, it aches for a season slipping away forever. Its Harte Attack edition counterpart - the candied ballad âRunning Thru My Mindâ - delivers unison harmonies and kinetic guitar interplay with a streetwise punch, channeling the spirit of NYC-area icons The Rascals, The Lovinâ Spoonful, and The Youngbloods.
Roaring like the Spencer Davis Group, Pure Madnessâ organ-driven bruiser âFreedom Ridesâ screams of biker gangs, yet its true subject - â60s civil rights activists the Freedom Riders - looms as another towering theme for an adolescent perspective. Meanwhile, the loose, bluesy ruckus âTreat Me Like a Manâ digs back into Edelsonâs catalogue, covering the Beatles-inflected Levittown group The Shandels.
Though Dennis later found success touring with Wilson Pickett and now doubles as a piano tuner to the stars, these four snapshots frame ambition on its outer edge - a heartfelt homage to an unbreakable brotherhood.
Summer's Over
Efficient Space charts Ghost Ridersâ North American roadmap, crashing into 1973 New York to ignite the unfiltered teen dreams of Dennis Harte.
In the late â60s, 11-year-old prodigy Dennis Harte was handed a Sears-bought Silvertone 1448, its in-case amplifier primed for street-level incantations. Recruiting two neighbourhood friends, the trio hammered out raw rhythms, drawing in Brooklynâs wandering bohemians, keen to glimpse a prepubescent Alex Chilton in the making.
Also jamming with his older brothers, Bart and John, a family friend introduced the siblings to budding music exec Carl Edelson, who had spent the better part of two decades hustling through a string of local labels. A father figure of sorts, Edelson backed them immediately, facilitating sessions at the famed A-1 Sound Studios and Sanders Recording Studio and pressing four 7âs on his newly minted Roundtable Records. To maximise his chances of courting major labels, he strategically assigned each release a different artist name - Dennis Harte, Pure Madness, Harte Brothers and the wryly titled Harte Attack.
Dennisâ emotional maturity and sheer talent bleed into the defining âSummerâs Overâ, penned by Edelson and once recorded by mid-'60s New Jersey garage vocal group The Wouldsmen. Morphing into an unfathomably teenage, blue-eyed soul/psych lament, it aches for a season slipping away forever. Its Harte Attack edition counterpart - the candied ballad âRunning Thru My Mindâ - delivers unison harmonies and kinetic guitar interplay with a streetwise punch, channeling the spirit of NYC-area icons The Rascals, The Lovinâ Spoonful, and The Youngbloods.
Roaring like the Spencer Davis Group, Pure Madnessâ organ-driven bruiser âFreedom Ridesâ screams of biker gangs, yet its true subject - â60s civil rights activists the Freedom Riders - looms as another towering theme for an adolescent perspective. Meanwhile, the loose, bluesy ruckus âTreat Me Like a Manâ digs back into Edelsonâs catalogue, covering the Beatles-inflected Levittown group The Shandels.
Though Dennis later found success touring with Wilson Pickett and now doubles as a piano tuner to the stars, these four snapshots frame ambition on its outer edge - a heartfelt homage to an unbreakable brotherhood.
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Efficient Space charts Ghost Ridersâ North American roadmap, crashing into 1973 New York to ignite the unfiltered teen dreams of Dennis Harte.
In the late â60s, 11-year-old prodigy Dennis Harte was handed a Sears-bought Silvertone 1448, its in-case amplifier primed for street-level incantations. Recruiting two neighbourhood friends, the trio hammered out raw rhythms, drawing in Brooklynâs wandering bohemians, keen to glimpse a prepubescent Alex Chilton in the making.
Also jamming with his older brothers, Bart and John, a family friend introduced the siblings to budding music exec Carl Edelson, who had spent the better part of two decades hustling through a string of local labels. A father figure of sorts, Edelson backed them immediately, facilitating sessions at the famed A-1 Sound Studios and Sanders Recording Studio and pressing four 7âs on his newly minted Roundtable Records. To maximise his chances of courting major labels, he strategically assigned each release a different artist name - Dennis Harte, Pure Madness, Harte Brothers and the wryly titled Harte Attack.
Dennisâ emotional maturity and sheer talent bleed into the defining âSummerâs Overâ, penned by Edelson and once recorded by mid-'60s New Jersey garage vocal group The Wouldsmen. Morphing into an unfathomably teenage, blue-eyed soul/psych lament, it aches for a season slipping away forever. Its Harte Attack edition counterpart - the candied ballad âRunning Thru My Mindâ - delivers unison harmonies and kinetic guitar interplay with a streetwise punch, channeling the spirit of NYC-area icons The Rascals, The Lovinâ Spoonful, and The Youngbloods.
Roaring like the Spencer Davis Group, Pure Madnessâ organ-driven bruiser âFreedom Ridesâ screams of biker gangs, yet its true subject - â60s civil rights activists the Freedom Riders - looms as another towering theme for an adolescent perspective. Meanwhile, the loose, bluesy ruckus âTreat Me Like a Manâ digs back into Edelsonâs catalogue, covering the Beatles-inflected Levittown group The Shandels.
Though Dennis later found success touring with Wilson Pickett and now doubles as a piano tuner to the stars, these four snapshots frame ambition on its outer edge - a heartfelt homage to an unbreakable brotherhood.
